The Wolverine* (2013) 9, 9.5, 9.5, 28

          I have been excited about this film since I first heard about it. I am a great fan of comic books and Wolverine is one of my favorite characters ever and he's never been anything but a joke in the movie franchise so far. This rating could be high, because I had very little reason to believe this time out would be different, but I was happy with it. With that preface, I would like to break it down for you.
          I chose to give this one a 9 for wit. This to me is an out and out win. It's been a lot worse. I never rated X-Men Origins: Wolverine, but if I had to guess, I'd bet I would have given it about a 5. I compared it to Winter's Bone and Zero Dark Thirty and it wasn't close, but compared to more modest fare like Watchmen and Valkyrie, it thrilled. The former two were 9.5's and the latter were 9's. The dialogue rarely felt forced or over-expository. It genuinely felt on par with some of its source material. The ultra-purists will scoff, but all the relationships were dealt with deftly and the actors made it all feel real.
          Hugh Jackman and Famke Janssen reprised major roles. Hugh finally felt at home in the character in a way he'd failed to previously. Famke played solely in dreamy sequences and spent most of her time playing out Logan's demons, which she did, without seeming too out of place. It's not easy to ride the line between, clearly not real and dream-believable.
          Newcomer Tao Okamoto made a splash in my mind as well. I will definitely look forward to her next appearance. She managed to play strength and weakness in equal measures, to have confidence and yet vulnerability. I was truly impressed. The rest of the actors were more or less forgettable, but filled their place well. The writers both have made a number of solid, if not remarkable films, but this seems like a step up to me.
          For wisdom, I felt the movie had a lot in common with True Grit (2010). Some basic questions about revenge and justice came up, but this one avoided a lot of that by putting Wolverine in a different place than he often is. Don't get me wrong; he kills a bunch of dudes and that can't simply be overlooked. But he only kills criminals in the pursuit of murder, kidnapping, etc. The bigger questions are about his obligation to be a hero and to step in when he sees injustice. This kind of stuff gets me going. He realizes the essential truth that hiding from the world is not an option. One has to take action in the face of evil.
          There is also a subplot about the possibility of healing and peace, even for those who have seen and done hard and harsh things for the right reasons and people who have experienced great loss. They come down squarely on the more optimistic side, which I approve of. Overall, the film is close to perfect in this regard. I only have a few reservations about its characterization of love. Specifically the whole, "I love you but I have to leave you" schtick. I don't buy it. So 9.5.
          For wonder, I choose to give a 9.5. A couple of points push this. One is the realism of, that is the lack of distraction from, his claws. They really looked real, metal, and menacing. Other than that it looked great and sounded great. And surely the director isn't a complete bozo. Some of the stuff was weird and I don't know how it will be dealt with, but I'm giving it the benefit of the doubt. Go see this movie. Or rent it. And please, pray that Disney and Fox can come into some sort of agreement to bring the X-Men and other Fox properties together with the Avengers, where they belong.

True Grit** (2010) 9.5, 9.5, 9.5, 28.5

          This is only my third post since I got home and my first of the month, so I thought I'd celebrate some milestones. I have passed a hundred views from Russia and Germany. Whoever you are, thanks. My most popular post, the one on Flame and Citron is at 91 views and would be my first to 100. I am nearly to my 50th post and I thank you all for reading.
          Now I'm sure you've all seen this movie, but I have to admit this was one of those watch-whatever's-lying-around choices. Obviously, from the score I gave, I like this film, so this is no insult, but I feel like this isn't going to blow anyone's mind. You probably all have your opinions, but I know I've never gotten mine well-formulated before so I thought I'd put it here for your perusing pleasure. Let's break it down.
          For wit, I chose to award it a 9.5. It was only barely off a 10. This film is nearly perfectly scripted, deftly handled dialogue to match any Coen brothers' outing, and superbly acted. The easy comparison for writing alone was Slumdog Millionaire. They both have a funny way of sounding like a story you've always known. The main players deserve special attention.
          Jeff Bridges reinvents a part played to near perfection by the Duke himself. There is no sign of John Wayne here, but in his place is a completely new performance that opens up nuances that are missing in Mr. Wayne's performance. I know I like to pretend at the first name basis with my actors, but this is just anyone. Jeff brings in a level of indolence and carelessness to the role, while maintaining an air of nobility.
          Matt Damon doesn't fail to impress either. I've never thought of Matt Damon as an actor with a lot of different speeds. He does well in particular parts, but the only two surprises he ever gave me were in this and The Informant! In this, he achieves an unbelievably silly earnestness that warms my heart and pisses me off. He's obnoxious to his compatriots without being obnoxious to the audience.
          Josh Brolin and Barry Pepper both manage to simultaneously blend in and stick out. Neither one gives you any reason to remember that they have ever played another part before. They genuinely seem to start from scratch in creating their characters, not easy, because I have really liked both of them before. They stand out by being interesting characters and disappearing into them.
          Hailee Steinfeld deserves a mention, if only for being more of stoic canvas for the story than Kim Darby. She was amazingly worth watching in scenes filled with more-seasoned actors. And when she played without Jeff and Matt, as when she bargained for horses or fell in a snake pit, you couldn't take your eyes off of her.
          Now to the tricky matter of the wisdom. I've debated this a good deal in my head and can't come to any decision, so I'll lay it out here. The pluses can be summed up with this quote, "You must pay for everything in this world, one way and another. There is nothing free except the grace of God." There is a very deeply ingrained part of me, backed up by mountains of Scripture and a good deal of reading and learning which tells me that this is one of the wisest statements in history. But I am also aware that it ignores grace and mercy and a slew of Christian virtues. Well, not ignores, but seems to pay little more than lip service to. This lip service, especially as it is far more than that, for the character, if not the writers, seems enough to get this one to a 9.5. Rooster kills a lot of men and never bats an eye, but never any but confessed violent criminals. He has a moral code that beats that of most and he sticks to it. I don't know if I convince myself, but maybe I convinced somebody.
          As far as wonder goes, I have compared it favorably to Uncertainty, which garnered a 9. It has a quality feel, but not much setting it apart within its period domain. The reason I gave it a 9.5 is about the matter of dialect. I don't know where I heard it before, but I remember the stickling for period speech really makes a big difference. One can clearly feel the difference when Josh talks. His minimum of contractions gives a very different feel to his character. This is a big point for the directors in my book.
          I hope I said something worthwhile and a little new about something for someone. If you haven't already seen it, get on it. If you have, maybe you can watch it different this time. Enjoyez!

Man on the Moon** (1999) 9.5, 8.5, 9, 27

I've been very into comedy and stand-up recently and I remembered it had been quite a while since I had seen this film. So when I saw it at the library, it demanded a watch. This movie is big for me primarily because of the story it tells and not as much because of the portrayal itself. The story of Andy Kaufman, who he was and the way that he broke wide open the rules and walls of comedy and being funny, is one of the best. I laughed so much just at the classic Andy Kaufman jokes that Jim Carrey does.
For wit, I gave it 9.5. It's hard to tell if the writing is really good or if it's just because of how funny Andy was. That said, Jim was great, possibly his best performance. Danny DeVito was great too. Paul Giamatti was as good as ever.
Some of the best stuff was the people playing themselves, the best of which was Jerry Lawler, the wrestler.
The wisdom was an 8.5. I question whether all of the deception that Andy did for his comedy was worth it. I imagine he did too, when no one believed he had cancer. Altogether I think the film had a good message about the power of funny things and about the worth of doing what you love even when no one else gets it. Also love. Pretty great all told.
The wonder gets a 9 just for the makeup job on the Tony Clifton parts. Especially when Paul fooled me into thinking he was Jim.
The music was great too. REM did a number of songs, including an original.
All in all, an absolutely good use of an afternoon. I hope you all enjoy.

Evil Dead* (2012) 9, 8.5, 10, 27

I would like to begin by welcoming myself back to my blog. I have been on the road for a while and I didn't see very many movies and I didn't review the ones I did see.
For my comeback, I'll be reviewing a gem that my nephew, Isaiah, insisted I watch. I wanted to watch it, but the right time hadn't presented itself. I am a fan of the Sam Raimi/Bruce Campbell original. This is not that. I was skeptical, because I am not very familiar with the previous work of the director, Fede Alvarez. He co-wrote and directed this, only his fifth directed film and second English language film. This one is so good that I want to watch his others.
The biggest difference between this and the original is where the original is somewhere between horror and comedy, this is between horror and drama. There is something lost in this, but also something gained. But let's break it down.
The writing is good. The dialogue makes some quality callbacks to the original but is overall its own film. The pacing is good enough to recognize an underutilized character and make a play on it.
The acting is surprising as well. The main two characters, a brother and sister played by Shiloh Fernandez and Jane Levy, are really good. I knew Shiloh from a little indie movie that came out a few years ago called Happiness Runs. It was a decent movie, but I now remember Shiloh as the stand out. His work here is comparable. He's the emotional crux of the film for most of it. He does a great job conveying horror, fear, revulsion and resolution. Jane Levy is nearly unknown to me. I always saw the end of Suburgatory when I recorded Modern Family. It seems stupid. But Jane impressed me. She did well the junkie, the fighter, and the possessed. All of it works.
The best though is Lou Taylor Pucci. He's had small parts in movies I've liked like Beginners, but I don't remember him. In this, he gets perfectly the kind of jerk who just won't leave it alone. He really plays the classic jerk so well.
Wisdom is an 8.5 because the message is ambiguous at best. Like the classic, the basic message is don't mess with witchcraft. Maybe also don't scoff at witchcraft. Either way, not the most profound of lessons. Maybe a light anti-heroin message, but that's hardly as groundbreaking as it was when Frank did The Man with the Golden Arm. Alogether, I might be being generous, but it isn't really about a message, but about enjoyment. This is a little shallow.
Wonder is the key. This film is awesome in its depiction of violence. Whether it's raining blood or someone is stabbing someone else in the eye, this film is creepy and well-made.
One last thing that I don't know where to put. There are some very unrealistic moments in the violence. I won't ruin anything, but some limbs are torn off a little too easily.
If you are squeamish about violence, do not watch this. Also, the demon-possessed girl says some foul things. This should be understood, because demons are bad. I cannot object to the realistic depiction of demons, though I can imagine why one wouldn't want young people to see it.
Enjoy friends!

Star Trek into Darkness* (2013) 8.5, 8, 9.5, 26

I went considerably out of my way to see this, that is, I left the country to find a showing. I have been very excited for a long time over it. But I was disappointed. Let me tell you why.
For wit, I gave it an 8.5. This is what I gave the first one too. The acting was, to me, first rate. Chris Pine and Zachary Quinto hit every note. Simon Pegg is hilarious. I still think Karl Urban has remade McCoy in his own image without bring anything unfaithful to the original. Zoe Saldana, John Cho, Anton Yelchin. I love Anton already since "Fright Night". Peter Weller (whom I remembered from Dexter) and Alice Eve made a splash too.
And if anyone deserved his own paragraph it is Benedict Cumberbatch. The man absolutely commanded the screen, the whole time.
But alas, the writing was not worthy of all their efforts. I don't want to place all the blame on Damon Lindelof's shoulders. There are three credited writers. But it does have some very disturbingly Lost-esque moments that seem to be shortcuts after writing into a corner. I'll discuss this more at the end in the section for those who've seen it already.
As far as wisdom goes, I dipped even lower than before, to an 8, than before. This is because of the way that Benedict's character is treated. He's an old Star Trek villian and I almost believed that he might get a fresh treatment, but he's assumed as a bad guy by our "heros" from the very beginning. He really doesn't do anything to deserve it. Nothing. This is again a writing problem.
That all put aside, the film is beautiful and well put together. Ut truly has quite a number of great scenes. Music is great and editing makes for a clean film.
Overall, I still suggest seeing it, but a non-Trekkie like myself could easily wait for DVD.

SPOILER ALERT

If you've seen this film already, I'd love to be more specific about my issues with the writing. Other Spock is a clear and unabashed deus ex machina. Somehow, in the middle of a giant battle, Spock gets a message to New Vulcan and doesn't ask for reinforcements, but queries Other Spock on Khan. This is clearly ridiculous. Then after getting what he needs to defeat Khan, he simply wraps it up. It is simply beyond too easy. Also it is clearly morally suspect. Spock has only the judgment of the man who.has already betrayed him, that is Marcus, to imagine Khan as a villian. Whatever Other Spock tells him will be the story, not of Khan, but of Other Khan and thus Kirk's decision to stun him after Khan has helped him is baldly treacherous. This is morally baffling and just plaij bad plotting. Sorry, J. J.
But, great moments include making Spock scream Khan's name when Kirk dies, reversing it; Kirk and Khan getting ready to go get Marcus; the build up to resurrecting Kirk; and the clear references to Sulu's eventual captainship.

Mud* (2013) 9, 9.5, 9.5, 28

          First, I'd like to note that the line to get into this movie was huge. Part of this was surely French movie theaters insistence on not letting anyone into a movie more than a few minutes before, but the theater was almost full. This film only had a limited release in the US, which means that it probably didn't show anywhere in my home town and got a week or two in the little indie theater in Lawrence(God bless 'em). This movie nearly filled a theater on a movie premier day with plenty of other things going on. That's kind of cool.
          Beyond that, I was happy in general to find this movie a little more plot-driven than Jeff Nichols' last film, Take Shelter, not because I prefer that (I clearly do not), but because it's good to see indie filmmakers with the ability to produce a balanced oeuvre. This movie is practically a thriller. It isn't quite as full of twists and turns as the trailer would have us believe, but it tells a complex and fulfilling story about someone really growing up. Let's break it down.
         For wit, I gave it a 9. I went up and down on this, but I stuck with a 9 because of comparisons with Jaws and Punch Drunk Love, both of which I watched last weekend, and I recognized less points where I felt like things were said so well I was taken aback. Less, not none. Comparing Vincent Cassel in Mesrine or Joaquin Phoenix in The Master with Matthew McConaughey in anything seems unfair. Not that Matthew is disappointing. He is at the awesome height of surprising quality that I got when he first appeared on Eastbound and Down. This will be the last time I underestimate him. He demands sympathy for his character and a certain fellow-feeling. You know that he isn't totally on the up-and-up, but you absolutely feel his pain.
          Reese Witherspoon is even a bit surprising, but I attribute that mostly to the writing. The story flows with an ease that I remarked about in Jaws. It is all-encompassing. When you are watching it, it is reality. All credit not given to the engrossing screenwriter goes to the two young actors who drove the film from beginning to end: Tye Sheridan as Ellis and Jacob Lofland as Neckbone. Their natural chemistry, helping someone like me, who hasn't talked to his childhood best friend much recently, a real reminder of what it is to not remember not knowing someone and to trust them implicitly and to really defy any attempt to create hierarchy between you.   Neither one has a long history in acting, but Tye's credit in a Terrence Malick film is nothing to scoff at. His performance is as layered as it can be in a clear bildungsfilm.
           Sarah Paulson and Ray McKinnon played his parents and both had their moments without standing out. Sam Shepard was great, but his best moment was in being clearly upstaged by Tye. The only other character who did much for me was Michael Shannon as Galen, Neck's uncle. He has his one or two scenes where he clearly is the point of attraction. Early on, in his first appearance, just after we've been told he's 'doing it,' he follows a young lady out apologetically explaining, "Some people are okay with that kind of thing in the bedroom. Now we know you're not, I'll keep that in mind." Later, he brings his character around from the irresponsible uncle/guardian when he warns Ellis not to "get Neck in any trouble (he) can't get him out of." Michael absolutely nails it, giving the most nuanced adult performance.
          Enough said about wit, I turn to wisdom, which was a 9.5. I had to give this a good bit of thought. It seemed clearly above Moonrise Kingdom which I gave a 9.5, because it doesn't have that obvious glaring defect. The ideas are clearly said, though not simply told. We learn that those we love sometimes fail us but that doesn't mean Love has failed us. We learn that all actions, whether they be seeking revenge (no matter where in the chain you may fall) or infidelity, have consequences, sometimes dire ones. But we also learn that sometimes things turn out for the best because of our most selfless acts. All these seem good to me, even unassailable, but they simply weren't enough to put this film in the class of Mr. Smith Goes to Washington or Nice Guy Johnny, which I gave 10's.
          The last is wonder and I gave it a 9.5 for its portrayal of the swampy rivery wilderness of Arkansas. It gave it the romanticism it deserves and gave some great shots of moving down the river. The music was good too, if unobtrusive. Not least the somewhat ironic use of "Help Me, Rhonda" for the closing credits. There was some obnoxious over-cutting between various figures during dramatic dialogue. I prefer staying with one character until there's a break in the dialogue. I can settle for not seeing the character talking if the other character's reaction is more interesting. It just felt nervous about missing something.
          If there is a theater near you showing this, I would suggest it. There's nothing approaching a sex scene and though some people get shot, it's pretty tame. Neck can't stop talking about "titties," but it's nearly endearing by the end. Enjoyez!

Jaws** (1975) 9, 9, 10, 28

          This weekend I was blessed by the opportunity to see an old classic again in good company. If you haven't seen Jaws go ahead and do it. Unless you're squeamish about blood, because there's a lot of it. Let's break this one down.
          I gave it a 9.5 for wit because this film is a veritable treasure trove of one-liners and the cast absolutely acts every one of them. I'll give you a smattering. Hooper the marine biologist, when a bunch of people going after the shark make fun of him, "Ha, ha - they're all gonna die." Chief Brody, when the massive shark first pokes his head out of the water, "You're gonna need a bigger boat." Brody again when one of the locals starts bugging him about something, "That's some bad hat, Harry." The film manages to craft at least a couple really dynamic and powerful characters in Brody, Hooper, and Quint within the bounds of this shark-story thriller.
          Roy Scheider gives an easy and free performance, leaving you sure that he could never be anyone else. This whole film is really one of complete immersion. Whether he's reacting to a smack in the face, asking his young son for a kiss, or gazing in fear at the water where the shark just was, I never felt the pull of the real world while he was onscreen.
          Richard Dreyfuss is amiable and fun. Really helping to lighten a mood that could easily get too heavy. Robert Shaw, who plays Quint really sucks you in with his monologues too. He has too big ones: first when he scratches the chalkboard to get everyone's attention and then offers to go after the shark. That monologue is worth a great many movies I've seen. The second is his narration of attack by sharks on a sinking ship during WWII. He really gives you the most engrossing sort of campfire story I think any film pulls off.
          The background artists really make this film though. It truly is all about atmosphere. A couple problems with the non-descript and lackluster ending, which practically qualifies as a plot-hole.
          The wisdom is a simple 9. It has a clear message: don't value economy and money over people's lives be cautious and respect the power of nature. But this seems something over-simplistic. It may not have been meant to teach a great lesson, but that seems like a bit of a flaw.
          The ten here is for Spielberg and his ability to make a terrifying shark movie with so little shark. The little boy's flailing body and the red water bubbling under him is far more frightening than the best moments of the animatronic shark. That and John Williams, the absolute best for-screen composer ever. He is truly a magician. That 10 doesn't feel hard to justify. That is rare.
          I hope those few who haven't seen this classic can get the bug, otherwise enjoy.